Bartleby, the Scrivener a Story of Wall Street
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A Girardian Reading of Herman Melville's Billy Budd, Sailor James Mcbride
University of Maryland Law Journal of Race, Religion, Gender and Class Volume 3 | Issue 2 Article 6 Revisiting a Seminal Text of the Law & Literature Movement: A Girardian Reading of Herman Melville's Billy Budd, Sailor James McBride Follow this and additional works at: http://digitalcommons.law.umaryland.edu/rrgc Part of the English Language and Literature Commons Recommended Citation James McBride, Revisiting a Seminal Text of the Law & Literature Movement: A Girardian Reading of Herman Melville's Billy Budd, Sailor, 3 U. Md. L.J. Race Relig. Gender & Class 285 (2003). Available at: http://digitalcommons.law.umaryland.edu/rrgc/vol3/iss2/6 This Article is brought to you for free and open access by DigitalCommons@UM Carey Law. It has been accepted for inclusion in University of Maryland Law Journal of Race, Religion, Gender and Class by an authorized administrator of DigitalCommons@UM Carey Law. For more information, please contact [email protected]. REVISITING A SEMINAL TEXT OF THE LAW & LITERATURE MOVEMENT: A GIRARDIAN READING OF HERMAN MELVILLE'S BILL Y BUDD, SAILOR* James McBride, J.D., Ph.D.** Ay, there is a mystery; but, to use a scriptural phrase, it is a "mystery of iniquity," a matter for psychologic theologians to discuss. But what has a military court to do with it? -Captain Vere in Herman Melville, Billy Budd, Sailor' All writers on the science of policy are agreed, and they agree with experience, that all governments must frequently infringe the rules of justice to support themselves; that truth must give way to dissimulation, honesty to convenience, and humanity itself to the reigning of interest. -
Israel Potter Deported Rodrigo Lazo
Israel Potter Deported Rodrigo Lazo Leviathan, Volume 22, Number 1, March 2020, pp. 146-165 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/lvn.2020.0009 For additional information about this article https://muse.jhu.edu/article/750720 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] Israel Potter Deported RODRIGO LAZO University of California, Irvine This lecture aims to break down the walls separating fields of study by inter- preting Israel Potter in relation to concerns about migration and transnational labor that are common in Latino/a/x and trans-American studies. Turning away from a critical emphasis on the book’s dedication to the Bunker Hill Monu- ment as a response to national US mythology, I consider Potter’s movement away from home and his status as a refugee to engage questions of national belonging. Israel Potter is an important book for those who study migration in the Americas and the transatlantic dimensions of the age of revolutions. In the spirit of C.L.R. James’s commitment to reading Melville through “the world we live in,” I argue that Israel Potter’s condition as a migrant subject who is denied national reintegration at the end of his life shares structural similarities to recent governmental efforts to detain and deport migrants, some of whom have lived in the United States for years. begin with profound gratitude to the conference organizing committee for inviting me to deliver this lecture. Your kindness inspires me, partic- I ularly because I can think of many Melville scholars whose work would merit this distinction, and so I am humbled. -
Metaphorical Use of the Bible in the Beginning Part of Melville's Typee
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kitami Institute of Technology Repository Metaphorical Use of the Bible in the Beginning Part of Melville's Typee 著者 平野 温美 journal or 人間科學研究 publication title volume 4 number 4 page range 111-129 year 2008-03 URL http://id.nii.ac.jp/1450/00007481/ Metaphorical Use of the Bible in the Beginning Part of Melville's Typee(論 111文) Metaphorical Use of the Bible in the Beginning Part of Melville’s Typee Harumi Hirano* Abstract Melville’s theological contexts in his first book, Typee, have not been duly discussed, since critics have considered the issue proper to his later books. The intent of this study is to show that Melville ingeniously insinuates Biblical episodes in the beginning part of the book so as to give the described incidents additional quality and depth which relate to the perspective of Ishmael in Moby-Dick. Here we also discuss the idea of the Covenant of God with man, the central doctrine of New England Puritan theology. This thesis concludes that the narrator’s flight from the “arbitrary and violent” captain of the ship signifies Melville’s metaphorical assertion that the narrator annuls the covenant with orthodox Puritan God. In his book “about the semantics of cultural forms” for the students of anthropology, Edmund Leach reminds them of the grave importance of verbal categories in one’s realizing and interpreting the outside world. What does one do to shape an internal perception of the continuous sequence of the visual outside world in which adjacent elements are not perceptibly different from each other? One makes it possible by cutting the continuum into recognizable parts and giving each of them a name to distinguish from each other. -
Evaluation-Essay-Sample.Pdf
Evaluation Essay Sample Obsession and Depression: Bartleby’s Place in the Melville Canon Herman Melville is best-known for his stories about adventure on the high seas and encounters with native peoples. Typee, Moby Dick, and “Benito Cereno” all take as their setting ships, the sea, and remote islands populated with native peoples. At first glance, Melville’s short story “Bartleby, the Scrivener” does not appear to adhere to the themes and conventions present in his other work. There are obvious differences between this story and Melville’s other works; “Bartleby, the Scrivener” has nothing to do with seafaring, for example. And yet, this story is perfectly at home in Melville’s body of work. “Bartleby, the Scrivener” embodies the classic Melville themes of obsession and depression, despite its modern setting. Many of Melville’s characters grapple with depression. We need only be introduced to Captain Ahab in Moby Dick to see the depths of his obsession with vanquishing the great white whale. Bartleby is just as obsessive, single-mindedly copying documents day after day. The narrator reveals, on more than one occasion, that Bartleby appears to work unendingly, producing an “extraordinary quantity of writing” (Melville 10). Bartleby’s obsession with his work arguably pushes him into a deep depression, made all the worse by his confinement in a two-story office building. The lack of sunlight afforded by the building, due to the office’s proximity to larger, towering buildings, contributes to Bartleby’s condition. In his article “Melville’s Parable of the Walls,” Leo Marx explains that “The Walls are the controlling symbols of the story…the walls which hem in the meditative artist and for that matter every reflective man” (241). -
A Stylistics Analysis of the Works of Herman Melville
Striking Through the Pasteboard Mask: A Stylistics Analysis of the Works of Herman Melville By Kristal Eilein Metzger-Andersen, B.A. A Thesis Submitted to the Department of English California State University, Bakersfield In Partial Fulfillment for the Degree of Masters of English Spring 2012 Copyright By Kristal Eilein Metzger-Andersen 2012 Striking Through the Pasteboard Mask: A Stylistics Analysis of the Works of Herman Melville By Kristal Eilein Metzger-Andersen, B.A. This thesis has been accepted on behalf of the Department of English by their supervisory committee: Dr. Steven Frye This thesis is dedicated to Dr’s Charles MacQuarrie and Steven Frye. Without your constant reassurance and encouragement this thesis would never have seen the light of day. A special thanks to my husband, Chris Andersen, who gave me the confidence to continue when I wanted to quit. Thank you so much for being the light in the storm. Table of Contents Introduction 1 Chapter One: The Travel Narratives – Typee: A Peep at Polynesian Life, During a Four Months’ Residence in a Valley of the Marquesas 7 Chapter Two: The Philosophical Narratives – “Bartleby, the Scrivener: A Story of Wall Street” 17 Chapter Three: The Psychological Narrative – Moby Dick; or, The Whale 27 Chapter Four: The Satirical Narrative – The Confidence Man: His Masquerade 37 Conclusion 49 Glossary of Literary Terms 51 Bibliography 53 Metzger-Andersen 1 Introduction Herman Melville is arguably the most influential American writer of the nineteenth-century, yet he was not taken seriously by the critics of his time. Since the early twentieth-century, however, Melville’s oeuvre has been considered an important part of the Western canon and modern critics have been writing about his works at length. -
BARTLEBY the SCRIVENER by Herman Melville
BARTLEBY THE SCRIVENER by Herman Melville THE AUTHOR Herman Melville (1819-1891) was born in New York City. His family later moved to Albany, where his father died and young Herman was forced to go to work in a bank at age 13. He later served briefly as an elementary school teacher and a newspaper reporter. At age 19, he went to sea for the first time. Two years later, he embarked on a lengthy whaling expedition, where he gained the knowledge that became the foundation for his great novels. During the expedition, he and another sailor left the ship on a Pacific island, where he found himself among a tribe of cannibals. His experience became the foundation for his first novel, Typee (1846), the most popular of his works during his lifetime. This was followed by Omoo (1847) and Melville’s great classic, Moby Dick (1851). At the time Moby Dick was published, Melville had recently met Nathaniel Hawthorne, whose work he greatly admired and to whom he dedicated his masterwork. Melville continued writing until his death in 1891, producing increasingly experimental works including the short story Bartleby the Scrivener (1853) and the short novel Billy Budd (1891). Melville was a pessimist, an unhappy loner who struggled with despair throughout his life. In the world around him and within himself he saw little but evil. Bartleby the Scrivener was the first of Melville’s forays into writing for publication in magazines, and is today considered a classic. It has been compared to the greatest stories of human alienation, including the works of Kafka, Dostoevsky, and Camus. -
ANALYSIS Typee
ANALYSIS Typee: A Peep at Polynesian Life During a Four Months’ Residence in a Valley of the Marquesas (1846) Herman Melville (1819-1891) “Whether the natives are actually maneaters or noble savages, enemies or friends, is a doubt sustained to the very end. At all events, they are the most ‘humane, gentlemanly, and amiable set of epicures’ that the narrator has ever encountered. He is welcomed by mermaids with jet-black tresses, feasted and cured of his wound, and allowed to go canoeing with Fayaway, a less remote enchantress than her name suggests. But danger looms behind felicity; ambiguous forebodings, epicurean but inhumane, reverberate from the heathen idols in the taboo groves; and the narrator escapes to a ship, as he had escaped from another one at the outset…. He has tasted the happiness of the pastoral state. He has enjoyed the primitive condition, as it had been idealized by Rousseau… As for clothes, they wear little more than ‘the garb of Eden’; and Melville…is tempted to moralize over how unbecoming the same costume might look on the civilized. Where Poe’s black men were repulsive creatures, Melville is esthetically entranced by the passionate dances of the Polynesians; and his racial consciousness begins to undergo a radical transposition when he envisions them as pieces of ‘dusky statuary.’ On the whole, he believes, ‘the penalty of the fall presses very lightly upon the valley of Typee.’… If there is any serpent in the Marquesan garden, it is the contaminating contact of the white men. If the children of nature are losing their innocence, that is to be blamed upon their would-be civilizers. -
U·M·I University Microfilms International a Bell & Howell Information Company 300 North Zeeb Road
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adverselyaffect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrightmaterial had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. M148106-1346 USA 313/761-4700 800/521-0600 Order Number 9429649 Subversive dialogues: Melville's intertextual strategies and nineteenth-century American ideologies Shin, Moonsu, Ph.D. University of Hawaii, 1994 V·M·I 300 N. -
"No Life You Have Known": Or, Melville's Contemporary Critics Hester Blum
"No Life You Have Known": Or, Melville's Contemporary Critics Hester Blum Leviathan, Volume 13, Issue 1, March 2011, pp. 10-20 (Article) Published by Johns Hopkins University Press For additional information about this article https://muse.jhu.edu/article/493026/summary Access provided at 9 Apr 2019 00:59 GMT from Penn State Univ Libraries “No Life You Have Known”: Or, Melville’s Contemporary Critics HESTER BLUM The Pennsylvania State University id-nineteenth century evaluations of Herman Melville’s work share acommonattentiontowhatmanyreviewers—anditcanseem Mlike all of them—called the “extravagance” of his writing and his imagination. Critics remarked on his general “love of antic and extravagant speculation” (O’Brien 389) and found that his imagination had a “tendency to wildness and metaphysical extravagance” (Hawthorne and Lemmon 208). In their estimation the “extravagant” Mardi featured “incredibly extravagant disguises” (“Trio” 462) and contained “a world of extravagant phantoms and allegorical shades” (Chasles 262), while Redburn was notable for “episodic extravaganzas” (“Sir Nathaniel” 453). “Unlicensed extravagance” (454) char- acterized even White-Jacket;and“theextravaganttreatment”(454)givento whaling in Moby-Dick stood in for the novel’s “eccentric and monstrously extravagant” nature (“Trio” 463), containing as it did “reckless, inconceivable extravagancies” (“Trio” 463) in addition to “purposeless extravagance” (A.B.R. 364). These surpassed the only “passable extravagancies” of his earlier works (“Book Notices” 93). The critical account offered above was assembled from fragments of criticism of the novels of Melville’s mid-career; readers of Pierre will hear in it the echo of Mary Glendinning’s equally insistent—and equally regulatory— catalogue of her son’s qualities: “A noble boy, and docile.. -
Piazza Tales
THE PIAZZA TALES BY HERMAN MELVILLE AUTHOR OF “TYPEE,” “OMOO,” ETC., ETC., ETC. ------ originally published by NEW YORK; DIX & EDWARDS, 321 BROADWAY LONDON: SAMPSON LOW, SON & CO. 1856. republished by E S P The Electronic Scholarly Publishing Project www.esp.org Electronic Scholarly Publishing Project Foundations Series: American Literature Series Editor: Robert J. Robbins Bibliographical Note This ESP edition, first electronically published in 2017, is a newly typeset, -un abridged version, based on the 1856 edition published by Dix & Edwards. Unless explicitly noted, all footnotes and endnotes are as they appeared in the original work. Production Credits Scanning of originals: ESP staff OCRing of originals: ESP staff Typesetting: ESP staff Proofreading/Copyediting: ESP staff Graphics work: ESP staff Copyfitting/Final production: ESP staff Cover design: R. J. Robbins The Electronic Scholarly Publishing Project welcomes help from volunteers and collaborators, who recommend works for publication, provide access to original materials, and assist with technical and production work. If you are interested in volunteering, or are otherwise interested in the project, contact the series editor: [email protected] © 2017, The Electronic Scholarly Publishing Project http://www.esp.org This electronic edition is made freely available for educational or scholarly purposes, provided that this copyright notice is included. The manuscript may not be reprinted or redistributed for commercial purposes without permission. THE PIAZZA TALES Contents The Piazza . 1 Bartleby . 17 Benito Cereno . 57 The Lightning-rod Man ...............143 The Encantadas; or, Enchanted Islands ....214 The Bell-tower . 215 . -
ANALYSIS Omoo (1847) Herman Melville (1819-1891) “One Can Revel in Such Richly Good-Natured Style…. We Therefore Recommend T
ANALYSIS Omoo (1847) Herman Melville (1819-1891) “One can revel in such richly good-natured style…. We therefore recommend this ‘narrative of adventure in the south seas’ as thorough entertainment—not so light as to be tossed aside for its flippancy, nor so profound as to be tiresome.” Walt Whitman Brooklyn Daily Eagle (5 May 1847) “Omoo is a fascinating book: picaresque, rascally, roving. Melville as a bit of a beachcomber. The crazy ship Julia sails to Tahiti, and the mutinous crew are put ashore. Put in the Tahitian prison. It is good reading. Perhaps Melville is at his best, his happiest, in Omoo. For once he is really reckless…. For once he is really careless, roving with that scamp, Doctor Long Ghost. For once he is careless of his actions, careless of his morals, careless of his ideals: ironic, as the epicurean must be…. But it was under the influence of the Long Doctor. This long and bony Scotsman was not a mere ne’er-do-well. He was a man of humorous desperation, throwing his life ironically away…. He let his ship drift rudderless…. When he saw a white man really ‘gone savage,’ a white man with a blue shark tattooed over his brow, gone over to the savages, then Herman’s whole being revolted. He couldn’t bear it.” D. H. Lawrence Studies in Classic American Literature (1923; Doubleday 1953) “The play of fantasy in Omoo takes the form not of nightmarishness or even of daydreaming but of an easy and emotionally liberating current of humorous narrative, always slightly in excess, as one sees with half an eye, of the sober autobiographical facts. -
THE PIAZZA TALES by Herman Melville
THE PIAZZA TALES By Herman Melville Author of "Typee," "Omoo," etc., etc., etc. New York; Dix & Edwards, 321 Broadway. London: Sampson Low, Son & Co. Miller & Holman, Printers & Stereotypers, N.Y. 1856 CONTENTS: THE PIAZZA..............................................................................................................3 BARTLEBY..............................................................................................................14 BENITO CERENO. ..................................................................................................43 THE LIGHTNINGROD MAN...............................................................................105 THE ENCANTADAS; OR, ENCHANTED ISLES .................................................112 SKETCH FIRST. THE ISLES AT LARGE. ........................................................112 SKETCH SECOND. TWO SIDES TO A TORTOISE.........................................116 SKETCH THIRD. ROCK RODONDO................................................................119 SKETCH FOURTH. A PISGAH VIEW FROM THE ROCK. .............................123 SKETCH FIFTH. THE FRIGATE, AND SHIP FLYAWAY. ..............................128 SKETCH SIXTH. BARRINGTON ISLE AND THE BUCCANEERS. ...............130 SKETCH SEVENTH. CHARLES'S ISLE AND THE DOGKING. ....................133 SKETCH EIGHTH. NORFOLK ISLE AND THE CHOLA WIDOW..................137 SKETCH NINTH. HOOD'S ISLE AND THE HERMIT OBERLUS. ..................147 SKETCH TENTH. RUNAWAYS, CASTAWAYS, SOLITARIES, GRAVE STONES, ETC. ...................................................................................................154